Mental Imaging
Tags: creative process, creativity, deep practice, how to practice music, mental practice, mental rehearsal, mental skills, music performance, music practice, performance anxiety, Stage fright, The Musician's Way, visualization
“To rely on muscular habit, which so many do in technique, is indeed fatal.
A little nervousness, a muscle bewildered and unable to direct itself, and where are you?
For technique is truly a matter of the brain.”
–Fritz Kreisler, violinist
When Kreisler said that technique was ‘of the brain,’ I assume that he was referring to the mental processes through which we musicians direct our execution.
And I think that he wasn’t merely speaking about mechanics but rather pointing to the inclusive artistic and physical aspects of music making.
That is, when we professionals perform, we conceive of upcoming phrases before we execute them. We lead ourselves across the terrain of a composition, much like car drivers see ahead as they navigate a road.
This self-direction is rooted in our ability to do what I call mental imaging.
And I’m convinced that mental imaging skills are among the most important skills for musicians to develop.
Over my 30 years of performing and teaching, though, I’ve learned that many aspiring musicians don’t grasp the roles that mental processes play.
Countless would-be performers rely on rote habits – e.g., monotonous repetition in practice – that bring about all sorts of problems.
Chief among these pitfalls is that rote learners typically falter under pressure because they lack awareness of their music-making actions.
They’re like automobile drivers who can’t see where they’re going: at any moment they might crash. It’s no surprise that they’re jittery on stage.
This post sums up ways in which mental imaging techniques are used by musicians to foster creativity and confidence. See The Musician’s Way for detailed applications.
Mental imaging in practice
a. When learning a new piece, use imaging to simulate your execution and instill a vivid mental map before you play or sing. E.g., to absorb an unfamiliar phrase, instrumentalists might move their fingers in the air as they vocalize; singers could silently mouth words as they internally hear a tune. When you image, create a multisensory experience and make your imaginary playing or singing as realistic as you can: hear the music in your mind, register tactile and movement sensations, connect with the expressive shape of each phrase.
b. As you play or sing, perceive the musical gesture that follows the one you’re executing. Always think, feel, hear, and sense ahead, but do so easefully, trusting in your mental map.
c. To help solve problems, use imaging to try out permutations of fingering, diction, tonguing, phrasing, and so forth. To unravel a thorny passage, for instance, a string player might imagine touching the fingerboard with her left hand and run through various fingerings.
d. When memorizing, depend on imaging to solidify your mental record of a piece. In the practice room, for instance, you might image a phrase from memory 2-3 times before you attempt to execute it without the score. Later, to maintain your memory, you could image an entire piece or section.
Mental imaging in performance
a. Backstage, employ imaging to bring yourself into performance mode. If you’re nervous, let’s say, you might shore up your self-assurance by recalling one of your top performances. Then, in preparation for your entrance, mentally hear your music and mime the playing or singing actions. Get into character.
b. After your entrance, use imaging to set the tempo of a piece and ready your first phrase.
c. As you perform, image ahead, release effort, and unleash your emotions.
Mental imaging and creativity
a. During downtime, such as when you’re riding a train, playfully hear music in your head: generate compositional ideas or novel turns of phrase.
b. When seeking new ideas, you can use imaging to consider possibilities for programming and staging – see yourself as an audience member taking in your show.
c. To overcome barriers, envision yourself playing or singing with optimal ease and soulfulness. You might even visualize yourself performing as one of your musical heroes or imagine yourself tossing off tricky passages with aplomb. Regardless, use imaging to stoke your enthusiasm for making music.
New to mental imaging? See pages 34-37 of The Musician’s Way for an introductory exercise and examples of mental imaging in action.
Related posts
Deep practice
Dialing down the effort meter
The four stages of memorization
Solving problems in practice
© 2010 Gerald Klickstein
alexandra said:
Jul 05, 10 at 09:15I have spent a lot of time practicing, and just now am figuring out that I am a lazy practicer. I sit down to practice, and repeat and repeat, ad infinitum, and eventually get it, but still have many of the issues discussed. Just recently took a semi-beginner harp instruction book, and limited my scope of practicing; JUST 4 measures at a time each day; reading the music before attempting, and other suggestions. Am amazed at how quickly I am learning; it is so easy to just keep doing it the way you have in the past, and not try new ideas.
Thank you for your posts; they are inspiring.
Gerald Klickstein said:
Jul 05, 10 at 10:47Thanks for the comment, Alexandra. Isn’t it amazing how small, specific goals enable us to do our best? And brava to you for being open to new ideas.
Evan said:
Jul 08, 10 at 07:56An important point in my own practice has been to generate routine regardless of feelings or discouragement to continue practicing.
Thank you for the post that comprehensively re-affirms practice mentality.
Gerald Klickstein said:
Jul 08, 10 at 09:45Well said, Evan. We all have to acquire the ability to work productively regardless of life’s ups and downs.
FYI, I tackle some aspects of this issue in my post “Getting started”:
http://musiciansway.com/blog/?p=343
Glory St. Germain said:
Jul 09, 10 at 08:16Thanks Gerald for giving me another way of approaching things. After 35 years of teaching beginners to Gr.9 piano, I will be teaching my first Gr. 10 Piano student this year and need all your ideas to really show my student the benefits of great practice technics. I just found your site, so I will go back and read “Getting started” and a few others to prepare for Sept. Keep writing and thanks!
Gerald Klickstein said:
Jul 09, 10 at 11:03I appreciate your support, Glory. And thanks for all you do to nurture young musicians.
You and your students will find abundant additional resources in my book and on http://www.MusiciansWay.com – e.g., see the ‘Downloads’ page.
Don Roth said:
Aug 06, 10 at 08:29A very important approach, I think. However, I think that I could make a stronger case for muscle memory in addition to imaging. I also find that imaging helps intonation which seems a little surprising to me.
I wonder why your philosophy has not been included in the violin pedagogy mainstream?
Don Roth said:
Aug 06, 10 at 08:53My case for muscle memory.
What does a violinist and a blind piano player have in common ?
Both know that the general layout of their notes but neither have ready visual access to those notes.
Both must have an excellent image of the spatial coordinates of their instruments.
Neither one can know the exact sound they will produce FROM THE
INSTRUMENT…… BEFORE the note is executed. ( I have to wonder about the true role of vibrato
What do you think ?
Gerald Klickstein said:
Aug 06, 10 at 11:12Good points, Don – thanks for contributing.
I agree that muscle memory plays an important role in playing instruments. After all, music making is an intensely physical process.
My central message (and that of Fritz Kreisler) is that we don’t want to have muscle memory in the driver’s seat. We want to direct ourselves with awareness and get the Homer Simpson of mindlessness out of the control room.
To answer your questions: Mental imaging principles are integrated in varying degrees into the methods of a number of pedagogues; I’m certainly not the first to explore this topic – e.g., see the writings of violinist Kato Havas and guitarist Aaron Shearer.
I can’t say for sure why mental practice strategies aren’t more mainstream, but I suspect that it’s because: a) it’s challenging to teach such strategies; b) mental processes run ‘under the hood,’ so they aren’t apparent and often aren’t recognized. Hence, I felt the need to write The Musician’s Way, which presents a comprehensive approach to acquiring musical skills.
Lastly, concerning your example of sight-impaired musicians, they too would use mental processes to direct their execution. Although their mental conceptions wouldn’t be vision-based, it seems to me that mindful self-direction would still underpin their ability to perform securely.
Dakota said:
Jul 27, 11 at 16:15Hi Gerald,
I know that visualization helps with athletics, but never considered adding it to my piano arsenal. That is an ‘aha’ moment. Of course it makes perfect sense. Thanks.